Links for Orna

Some concrete examples of multiplatform TV (factual)

The Great British Property Scandal (case study video)

Seven Days (case study video)

Embarrassing Bodies: Live from the Clinic (case study video)

Big Fish Fight  (case study video)

D-Day as it happens (post-TX website)

Foxes Live (post-TX website)

 

Play a long game

This project took two years to travel from Quotables, the website which inspired it, thought up in a cafe opposite Great Ormond Street back in 2010 with Andy Bell and some Mintfolk, to this primetime panel show playing out this summer.

Here’s an extract from Broadcast today…

 

Same hairdresser as Elliott Gould and me

C4 panel show to feature Twitter playalong game

20 June, 2013 | By Alex Farber

Channel 4 is hoping that the playalong game for forthcoming panel show Was It Something I Said? (WISIS?) will have as big an impact in the space as The Million Pound Drop Live.

The David Mitchell-hosted series, produced by Maverick TV and Mint Digital, will offer a playalong element hosted entirely on Twitter. Viewers will be directed to follow a dedicated account, @somethingIsaid, which will post questions, funny pictures and supporting content to coincide with the appropriate point in the show.

Players will be able to track their progress via a mobile-optimised website that will be closely integrated with the Twitter platform. C4 estimates that 80% of TV-related Twitter usage occurs via mobile.

…

Around 3,000 users will be sent personalised messages during each episode, with all the content produced designed to be shareable.

Separate Twitter accounts will also be launched to allow +1 viewers and those who watch the extended 45-minute repeat to also play along.

…

C4’s multiplatform commissioners Jody Smith and Adam Gee ordered the digital elements. The former said the broadcaster decided to host the playalong element on Twitter in response to viewer behaviour. “The interactivity around The Million Pound Drop has been hugely influential to other gameshows, and I’m expecting the interactivity planned for Was It Something I Said? to give the panel show genre just as big a kick up the arse,” said Smith.

The series is one of the first projects to have come from the broadcaster’s initiative to commission shows from non-traditional sources, and was inspired by the Quotabl.es website Mint Digital developed for C4 in 2010.

…

{Extract courtesy of Broadcast magazine}

Cannes Do attitude

A bulletin from the front-line of MIP TV in Cannes courtesy of C21 Media

C4 lines up ‘social media first’

 

MIPCUBE: UK broadcaster Channel 4′s first primetime show drawn entirely from digital airs this summer, allowing viewers to play along on social media and receive bonus content.

Was It Something I Said?, initially an eight-part Friday night panel show, will be presented by comedian David Mitchell and produced by Maverick TV and That Mitchell & Webb Co.

Adam Gee, Channel 4’s multi-platform commissioning editor, told C21 here in Cannes: “We’ve been trying to do this for a long time. For the last two years I’ve been looking for ‘the North West Passage’ from digital media to TV. This started life as an arts digital commission and now it’s yielded primetime television.”

Gee, responsible for commissioning campaigning multi-platform properties The Great British Property Scandal and Hugh’s Fish Fight, claimed the new show would be a social media first.

“What’s particularly interesting about it is that the playalong will be fully integrated into social media, so you won’t have to go somewhere else to join in,” he said.

The show pits two teams against each other in wordplay, based on things people have said, tweets, media, and TV and film dialogue. Viewers will be able to play along with the show on Twitter, and receive bonus content.

 

Julian Blake

09-04-2013

{reproduced courtesy of C21 Media}

TV producers are no good at making YouTube videos

Picking up on the last post I’m glad to see my thoughts on YouTube-type video…

The new YouTube channels are an area where TV baggage is damaging. Some have squeezed out everything that’s really good about YouTube. You want that energy that comes from someone being able to record, edit and bang something out in three hours.

…broadly confirmed from the front line. Hank, one of the fellas behind Crash Course and SciShow, summarises the Lessons Learned from YouTube’s $300M Hole (its first tranche of  ‘Original Channel’ investment) thus:

1. Spending more money to produce the same number of minutes of content does not increase viewership. Online video isn’t about how good it looks, it’s about how good it is.
2. People who make online video are much better at making online video than people who make TV shows. This probably seems obvious to you (it certainly is to me) but it apparently was not obvious to the people originally distributing this money.
3. When advertising agencies tell you they want something (higher quality content, long-form content, specific demographics, lean-back content, stuff that looks like tv) it’s not our job to attempt to deliver those things. In a world where the user really does get to choose, the content created to satisfy the needs and wants of viewers (not advertisers) will always reign supreme (thankfully.)

He concludes “Of the 114 channels that YouTube funded as part of this initiative, my educated guess is that exactly one earned back its advance…”

No real surprise there gauging by the UK channels which are broadly made as cheap TV which looks …cheap – but not cheerful. Cheerful is the energy referred to above, in a world where there is no such thing as a jump cut and individual personality is what communicates the joie de vivre.

The New Rules of Engagement

This extract from Broadcast is based on a roundtable discussion about the state of play of multiplatform and interactivity around TV.

The new rules of engagement

14 March, 2013 | By Alex Farber

What are broadcasters and producers bringing to the table in multiplatform projects – and how can they make them pay? Broadcast brought together the key players at a roundtable sponsored by Xbox

ROUNDTABLE THE PANEL

Alex Farber (chair) Web editor, Broadcast
Adam Gee Multiplatform commissioner of factual, Channel 4
Harvey Eagle Marketing director, Xbox UK
Paul Bennun Chief creative officer, Somethin’ Else
Peter Cowley Managing director, Spirit Media
Victoria Jaye Head of IPTV and TV online content, BBC Vision
Anthony Rose Founder, Zeebox
Janine Smith Creative director, Zodiak Active

Why is innovation so important?

Paul Bennun All of us want to create wonderful services, products and content that is going to be enjoyed and used by as many people as possible. You can’t just think about programmes any more; you have to use design-thinking, and that means employing more than one platform.
…

Do viewers want innovation?

Anthony Rose When there was only black-and-white TV, it’s unlikely people were clamouring for colour; they didn’t know it was possible. As a developer, you take bigger bets on things that you think have a high chance of succeeding and smaller bets on things that are fun to try. That’s the joy of innovation.
…

How do they engage with content?

AR Once the BBC filmed beautiful things for TV, then it began producing programme pages online, then second- screen apps. Then Twitter arrived offering conversations around content. The nirvana is that some programmes could be completely interactive. Imagine The Voice where the audience is the fifth chair.

PB I disagree, I do not want to be calling the shots on a football match. I want a director to tell that story because they can do a better job than I can. Interactive dramas that try to work on a mass scale tend to be worse than a simple linear experience.

Adam Gee But Embarrassing Bodies: Live From The Clinic is exactly in that space. You can watch the show at 8pm and have been on it by 9pm. It throws the emphasis back on live TV, which is good for advertising. There is a sweet spot between TV and interactive where you can get mass participation and rewarding, new experiences.

Janine Smith We have reached a point where we can learn from things we have done, and develop new formats where the multiplatform element is integral and not just an extended add-on.

…

There is a sweet spot between TV and interactive where you can get mass participation and rewarding, new experiences.  Adam Gee, Channel 4

Has the role of the broadcaster changed?

AG It’s critical to ask what you can bring as a broadcaster that no one else can. Facebook, Twitter or Zeebox couldn’t make Live From The Clinic. You want to get to a position where if you extract the digital from the TV, it’s a lesser programme and vice-versa.

VJ Programming is still one of the key catalysts for social discussion. You’ve got to put something great out there for the audience to get excited about. Only we can bring Sir David Attenborough to Twitter for a chat about Africa.

AG I always ask if what is being proposed is better than a really good TV show and Twitter. Big Fat Gypsy Weddings is one of the biggest factual formats on Channel 4, but there’s nothing much that we can usefully bring to the party in that case – so we don’t…

Peter Cowley Editorially I agree, but if you were a purely commercial broadcaster you might have a different view.

…

PB When the BBC removed its multiplatform commissioning, it effectively started presenting itself to the world as a TV commissioner. Because the BBC measures itself on its performance with TV programmes, it isn’t measuring the success of its digital formats.

AG We’re in a different place at C4. The past 18 months has been about trying to find the passage from digital to television. I’m working on a panel show that started life as an online arts commission; it’s a sign of maturity that this direction of travel is now possible.

How mainstream are multiplatform projects becoming?

VJ Media literacy is a big job for the BBC. The challenge is: how do you invite and choreograph 6 million people to download an app and play along with a 35-year-old programme such as Antiques Roadshow?

HE We are now trying to expand our audience beyond core gamers by creating content and entertainment experiences with broader appeal.

…

Who are the emerging players?

VJ Felix Baumgartner’s space dive really showcased the mixed economy: a 10-minute live event, funded by Red Bull, with 8 million YouTube viewers, followed by a BBC documentary funded via a completely different model with National Geographic. It shows the new players that are bringing audiences content.

PB Red Bull has no broadcast infrastructure overheads. It will ask how something executes across the different platforms and won’t draw any distinctions. We made Red Bull’s Bedroom Jam, which included an online music competition and a live broadcast. A programme doesn’t sum up what we’re trying to achieve any more.

HE We’re trying to go beyond the console model and become a service that exists across multiple devices.

AG The new YouTube channels are an area where TV baggage is damaging. Some have squeezed out everything that’s really good about YouTube. You want that energy that comes from someone being able to record, edit and bang something out in three hours.

Extract published courtesy of Broadcast

 

 

Channel 4 Multiplatform

There was a useful article in this week’s Broadcast about Channel 4’s Multiplatform commissioning and its direction of travel, based on an interview with the Multiplatform Lead, Louise Brown. Here are a few extracts [with a few annotations from me]:

The Great British Property Scandal - starts Mon 5th Dec on C4 at 9:00pm

C4’s multiplatform commissioning lead has been charged with finding innovative ways to get viewers involved in its campaigns [it’s not limited to campaigns] through apps and online projects.
Multiplatform and convergence have been two key messages coming out of Channel 4 over the past 18 months, and Louise Brown is heading the team charged with innovation [including me whose focus is features and factual entertainment].
As multiplatform commissioning lead, Brown works with five commissioning editors tasked with working on two-screen projects that create meaningful dialogue.
George Clarke’s The Great British Property Scandal is the latest campaign to be getting the full 360-degree treatment, with a season of programmes supported by a range of multiplatform activity including an iPhone app and an online tool for members of the public to identify where there are empty homes, via mapping technology. The key activity is an online petition.
“It’s calling for a change in the law around long-term empty homes being made available for ordinary people to use, as well as setting up a low-interest loan fund,” Brown explains.
The information will be used by democracy project My Society [MySociety made the tools and app, they don’t use the information, the tools pass it on securely] and passed on to the local authorities. Taking lessons from last January’s Hugh’s Fish Fight, which harnessed the mass-TV audience to make a tangible change to policy, Brown is hoping to get more than 10,000 signatures on the petition.
“In multiplatform overall, we are constantly learning; the team’s remit is really to innovate,” she says.
Adam Gee, multiplatform features and fact ent commissioner, has worked on campaigns for both Hugh’s Fish Fight and The Great British Property Scandal. Brown believes his experience can lead to more powerful campaigns in future.

“C4 prides itself on having really impactful programmes. When you have been stirred by a programme, you need to do something with that. That is what is so exciting about having multiplatform at the heart of things now,” she says.
One of the key lessons from the campaigns is that people need to have a variety of access points to do something that is achievable, she says.
Campaigns are not the only area in which C4 is looking to invest. All of its programmes have a web presence, but the level of interactivity will vary, says Brown. “In terms of resources, I would rather have the focus on a few standout, compelling experiences around really appropriate subject matter than try to make everything a little bit multiplatform,” she says.
Brown points to the range demonstrated by The Million Pound Drop Live playalong game, Comedy Blaps, Hippo: Wild Feast Live and forthcoming gameshow Bank Job.
In the ambitious Hippo: Wild Feast Live, a dead hippo was placed on a river and C4 attempted to let the audience watch almost every stage of the animal’s body being consumed as its energy was passed down the food chain. “It came together quite quickly,” she reflects. “Natural history is another area where I really hope we are going to see some more events or experiences. If we get the right subject matter and the right approach, it makes it a uniquely C4 experience. Not everything worked, but if everything is going right, we are not pushing hard enough.”
Despite some technical glitches, the project attracted an audience that was willing to spend time on the website – one of the factors Brown considers when looking at a project’s success.
The starting point when assessing how well a project has done is the number of visits to the site, followed by the number of minutes people spend on the site, and then the number of return visits. On the Hippo project, viewers spent an average of 19 minutes watching a live stream, which culminated in 6,500 hours of live-action views.
Those are the overall markers of success. But each genre should be approached differently as each has its own potential for multiplatform. In scripted content such as drama and comedy, the key thing is talent, says Brown.

Ideas machine
…
C4 has just ordered 14 developments from 200 pitches submitted after its first ever online briefing. The plan now is to increase the frequency of briefings and the number of commissions. “The total focus of my team is finding new talented companies. Sometimes they are content companies and sometimes they are technology companies,” she explains.
“At next year’s briefings, I would like to see more TV companies interested in multiplatform commissioning. We have some of the best digital companies, who come along with really brilliant thinkers, and I would like some of those TV thinkers to come along and meet with them.”
C4’s strategy of two-screen commissioning revolves around the TV, but over the coming year, we can expect to see a more fluid use of ideas. “I would be gobsmacked if an online idea doesn’t migrate onto TV next year. There are ideas we are considering already. There is already a case where it is has gone into a strand for a show. It is absolutely what we think and know will happen,” she says.
Ultimately, C4’s aim of pushing the boundaries in convergence and two-screen has led to a change in the way it commissions and the type of content it is working with, and a deeper understanding of audience behaviour. The next year will only see it building on that foundation.

How to pitch
Do
•    Know why your idea is perfect for Channel 4
•    Come to our briefings
•    Keep up with our current Multiplatform commissions – what you can learn, where you might overlap
Don’t
•    Overthink it – commissioners want to input/help
•    Assume the involvement of existing C4 talent
•    Pitch comedy or drama without a writer

Cash and Burn

Channel 4 multiplatform: 
A broad development slate
Channel 4 multiplatform commissioners have ordered 14 developments since the online summer briefing.
There’s a non-linear narrative drama and factual-based projects looking at topics such as international finance and food waste, while an entertainment format looks at the depth of friendships online.
Adam Gee has ordered a development looking at international finance. The project, from Cardiff ’s Cube Interactive and Twofour, aims to offer an experience of how international finance works and promises the unusual spectacle of a City trader, a bookie, a housewife and a monkey pitted against each other.
The idea is seen as having potential to translate to TV and could potentially be stripped over a number of days. Ten Alps’ Wasted, another Adam Gee order, focuses on a new chef who promotes how to avoid wasting food. The format will show people how to use their food by the end of the week rather than throw it away.

Intimate Exchanges uses Alan Ayckbourn’s 1982 play to explore the concept of non-linear drama. Multiplatform drama commissioner Hilary Perkins ordered the project from Tern in Glasgow.
A number of potential interactive treatments are being developed based on the themes of the original play. The idea is based on examining how decisions can be made both in a local environment, such as the living room, and how that might compare with regional and national decisions.
An in-depth knowledge of digital culture is the basis for The Network, which is being worked on by Nerd TV. The development, an entertainment format commissioned by Jody Smith, looks at how well people’s online friends really know them, and is another development earmarked as a possible TV transfer.

Reproduced courtesy of Broadcast. The full article can be read here (subscription only).

Interactive media cuts crime

Two years is a long time in interactive media – time enough for this commission of mine, Landshare, from Keo and Mint Digital to show its true value as highlighted in the Telegraph:

Crime

Hugh Fearnley-Whittingstall’s allotment halves anti-social behaviour

Hugh Fearnley-Whittinghstall, the River Cottage chef, has halved anti-social behaviour on a housing estate with an allotment scheme.

7:00AM BST 11 Aug 2011

The television chef launched the Landshare initiative, encouraging communities to plant food on unused plots.

Hugh Fearnley-Whittingstall

The scheme’s first project in Leigh, Wigan, has cut anti-social behaviour by 51 per cent, local police said.

“This has been a wonderful project that gives children something positive, healthy and educational to do,” said PCSO Wendy Walters. “The allotment has undoubtedly contributed to a staggering 51 per cent reduction in antisocial behaviour on the estate in the last year.”

“The estate has seen a great improvement in antisocial behaviour since the allotment started,” said one resident. “The site gives children somewhere to go and something to do.”

The Landshare scheme, backed by Channel 4, matches people in need of land and those wanting to help with growing with people offering unused plots. It also offers advice to novice gardeners. It has been used by more than 55,000 people since its launch by Fearnley-Whittingstall in 2009.

{Reproduced courtesy of The Telegraph}

TV and Social Media

I spent an enjoyable morning courtesy of Broadcast the other week chewing the fat about the role of Social Media in relation to TV (and vice versa). They used the roundtable discussion as the basis of a feature which you can read here. Also involved, among others, were Deborah Rayner (Managing Editor, CNN, EMEA), Maz Nadjm (Head of Social Media, Ogilvy Group UK), Dan Patton (Director of Digital Media, MTV UK & Ireland) and Allan Blair (Director of Social at ad agency DDB), plus a few of my old muckers, namely James Kirkham (MD of Holler, who I worked with on Big Art Mob and Seven Days), Uktu Can (Creative Strategist at Mint Digital who’s helped recently with Quotables) and Rich Payne of Maverick TV (who I last toiled with on Embarrassing Bodies: Live). All fluently chaired by Lisa Campbell the Editor of Broadcast and observed by Conor Dignam (Group Editor, Broadcast). Here’s how the discussion was framed, followed by the stuff that flowed out of my gob on the subject…

Social media is now an essential tool for attracting and retaining an audience, according to the industry experts at Broadcast’s roundtable. Suzy Bashford reports on how the new technology is being used.

Social media is the buzzword of the moment. It has even overtaken porn as the most popular activity on the web, and the term is being bandied about as a catch-all phrase to sum up everything broadcasters do online. But what is it? Is it anything that allows the viewer to leave a comment on a website? Is it a marketing tool, as in Holler’s work around Skins? Or an entertainment in its own right, such as Bebo’s Kate Modern? A complementary addition to a TV show, as in Living’s Four Weddings? Or, as WPP boss Martin Sorrell said recently, is social media simply “advanced letter writing”?

AG: Social media has got different modes: the talking mode, the listening mode, the talking and listening mode, the collaboration mode. That means it’s difficult to co-ordinate in an organisation.

For the people listening to conversations in Channel 4’s Research & Insight department, social media is fantastic, free audience research of the best kind, because it’s unprompted and spontaneous. We’ve got other people using social media for customer service and showing that we’re listening and improving because of what our customers are telling us. Then we’ve got people using social media in talking mode, for promotion and marketing.

For me, social media is about collaboration, participation and storytelling. What is most exciting about social media in our industry is that it now enables a two-way conversation.

How well are organisations integrating these different modes?

AG: It feels chaotic for plenty of organisations because they haven’t really sat down and analysed who is doing what and why. We’re conscious of the different ways we are using social media and we’re thinking about different strategies for co-ordinating it, so we don’t dampen the energy but ensure we’re all moving in the same direction.

What have you learned from experience about leveraging social media?

AG: As a broadcaster you’ve got to constantly ask: ‘What am I bringing to the party?’ People will have these conversations in their own spaces, in their own ways. So what we’ve been doing with a lot of commissioning is thinking how social media can impact the editorial. Take Surgery Live – people could ask a question via social media to the surgeon who’s working live on TV, and within 90 seconds they could hear their question being put by the presenter to the surgeon. Only the broadcaster can bring that to the party. With Embarrassing Bodies Online, we gave up editorial control entirely to the users.

With Seven Days, working with Holler, we brought another relationship into play, giving viewers the ability to influence documentary contributors in real life. We created a site that became the focus of where the characters actually interact. Viewers can influence contributors’ thinking by going to the site. We’ve ended up creating strange new interactions between media and real life. Again, that’s the joy of being a broadcaster – you can bring something special to the party and really add value.

What happens to your social media strategy around a programme when you’re not on air?

AG: That’s one of the great functions of social media, it helps you deal with the troughs between broadcast periods, particularly when you’ve got something popular and returning such as Skins.

What pitfalls should you watch out for in social media?

AG: I was in a cab during one of the election live TV debates and was following it on Twitter. What struck me was how incredibly sheepish the behaviour was. The same was evident in the recent immigration discussion online on The X Factor. You see people piling into a Facebook group that then does nothing. So you have to bear in mind that social media can at times be amazingly superficial and sometimes, ultimately, meaningless.

Quotables

Ever tried looking for a quotation online (of the literary as opposed to the insurance variety)? Wasn’t much fun was it? Not that easy to find what you want. And just how accurate was it? And why does it look like the site was made by a geek with no design skills in his stinky bedroom?

But you love great quotes don’t you? On your Facebook profile. In that presentation. You know, those ones you keep in that file – the one on your old computer. They’re everywhere – on the tube, in that advert, on that building, in that caff.

So why don’t we get the quotation sites we deserve and desire? Although there are several in the Alexa top 5000 most are labours of love, evolutions, accretions of amateur solutions stuck one on top of another like the proverbial sticking plaster. Or take Wikiquote – I search for “cars” and I get a Disney property, not a hint of shiny metallic vehicle in sight…

The world reduced to Disneyfication

And how pug ugly is that homepage?

And don’t get me started on the functionality which makes no real distinction between an encyclopedia article and a quotation. Don’t get me wrong, I love Wikipedia as much as the next man, woman or child but Wikiquote ain’t no fun.

Tear my eyes out!

Aargh. Barf. Yuk.

Suffer no more, fellow lovers of wit and wordcraft – may I introduce you to Quotables (www.quotabl.es) my latest baby, a Beta finding its feet at this stage, but already I hope lovelier and with your help, advice, input, love potentially a solution to the online quotes joylessness.

The world opened to verbal loveliness

Quotables is designed to work in four dimensions:

• as a Utility – an accessible place to save the quotes you love, the Delicious of quotations
• as a Reference Resource – growing into a comprehensive and contemporary repository of accurate, properly sourced quotes
• as a Reflector of Buzz – capturing what’s most on people’s minds at a given time, indicating the trends and zeitgeist
• as a Community of quote and language lovers – drawing together people who want to take on what was controlled by an editorial elite in the dead-tree era.

Quotables encourages contributors to draw on non-traditional sources such as bons mots heard live at public events, snappy one-liners from TV shows, tweets, a rich mix from high literature to popular culture. It also encourages short, concise selections (up to 75 words max) – that’s a “Quotable”. And it’s keen to promote the behaviour of saving our favourite quotes as we do our links on the likes of Delicious – to abandon those lost and abandoned files and notebooks and get Quotables to help that transition from old computer to new, to help circumvent that fruitless search for a scribbled upon bit of dead-tree not seen for a dog’s age.

The Beta is offered in the spirit of this quote which not so long ago defined its era:

There are known knowns. These are things we know that we know. There are known unknowns. That is to say, there are things that we know we don’t know. But there are also unknown unknowns. There are things we don’t know we don’t know.

We know some stuff we have yet to implement or roll-out – much of the mobile dimension of Quotables, some more of the integration into social networks, one click mark-and-publish from the browser, a long list programmed for release over the next year. But for the Unknown Unknowns we rely on you, dear reader, to tell us about via Laura Grace, our producer at hello@quotabl.es – observations, suggestions, gripes, words of wisdom, all much appreciated to help us shape this baby for the greater good.

Quotables has been lovingly made by Mint Digital and co-funded by Channel 4 and Arts Council England.

That master of wit and badinage Donald Rumsfeld who blessed us with the unknowable above also produced this little gem…

Oh, Lord, I didn’t mean to say anything quotable.

Well tough titty, Donald – we’re coming after everyone from you via Donald Duck to Donald Trump, from Jonathan Franzen to Franz Beckenbauer, from Martin Amis to Amy Winehouse, from Father Ted to Ted Hughes, not forgetting my favourite contribution of my own to date – a non-traditional source (police video), the verbal pyrotechnics of Mad Mel:

What are you looking at, sugar tits?

We’d love to revel in your own favourite(s) so without further ado please do head over to Quotables, have a poke around, and share some sugar, love and inspiration…

4thought.tv Job Opportunity

4thought.tv seek web/video Producer

Channel 4 has commissioned a cross-platform religion and ethics project, 4thought.tv, based around a series of short films, in which a single speaker will reflect on religious and ethical issues or aspects of their spiritual lives.

The films will air after Channel 4 News every day, 7 nights a week, 365 days a year. The strand will also have a strong online presence on the forthcoming 4thought.tv website, overseen by Cross Platform Commissioning Editor Adam Gee. Every film will be made available to view on this site (and on 4OD), as well as providing a rich mix of extra video content.

The project requires a person who combines the roles of Web Producer, Production Co-ordinator and liaison person, interfacing between the TV indie (Waddell Media) and the two digital agencies involved – Johnston North and Atto, all based in Northern Ireland. The job is based in Holywood, County Down for an initial period of a year.

For information on how to apply visit www.northernirelandscreen.co.uk